december 1869

Shortly before he gave speeches launching his 2020 campaign earlier this month, Bernie Sanders emailed his supporters, urging them to “do our very best to engage respectfully with our Democratic opponents—talking about the issues we are fighting for, not about personalities or past grievances. I want to be clear that I condemn bullying and harassment of any kind and in any space.”

What he didn’t include was that one of the people already advising him and helping him write those launch speeches is one of his most famously aggressive supporters online.

Since December, David Sirota has, on Twitter, on his own website, and in columns in The Guardian, been trashing most of Sanders’s Democratic opponents—all without disclosing his work with Sanders—and has been pushing back on critics by saying that he was criticizing the other Democrats as a journalist. He centered many of his attacks on Beto O’Rourke, but he also bashed Kamala Harris, Cory Booker, Joe Biden, Kirsten Gillibrand, Michael Bennet, John Hickenlooper, Mike Bloomberg, and even Andrew Cuomo.

Donald Trump is not well. Over the weekend, he continued his weird obsession with a dead war hero. This time, his attacks on John McCain came two days after the anniversary of McCain’s release from a North Vietnamese prison camp. He tweeted this:

Spreading the fake and totally discredited Dossier “is unfortunately a very dark stain against John McCain.” Ken Starr, Former Independent Counsel. He had far worse “stains” than this, including thumbs down on repeal and replace after years of campaigning to repeal and replace!

— Donald J. Trump (@realDonaldTrump) March 16, 2019

And this:

So it was indeed (just proven in court papers) “last in his class” (Annapolis) John McCain that sent the Fake Dossier to the FBI and Media hoping to have it printed BEFORE the Election. He & the Dems, working together, failed (as usual). Even the Fake News refused this garbage!

— Donald J. Trump (@realDonaldTrump) March 17, 2019

Updated at 5:23 p.m. ET on March 18, 2019.

The first Facebook message arrived when Heather Woock was packing for vacation, in August 2017. It was from a stranger claiming to be her half sibling. She assumed the message was some kind of scam; her parents had never told her she might have siblings. But the message contained one detail that spooked her. The sender mentioned a doctor, Donald Cline. Woock knew that name; her mother had gone to Cline for fertility treatments before she was born. Had this person somehow gotten her mother’s medical history?

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Her mom said not to worry. So Woock, who is 33 and lives just outside Indianapolis, flew to the West Coast for her vacation. She got a couple more messages from other supposed half siblings while she was away. Their persistence was strange. But then her phone broke, and she spent the next week and a half outdoors in Seattle and Vancouver, blissfully disconnected.

Christmastime is when the pens in my house get their biggest workout of the year. Like many Americans above grammar-school age, I seldom write by hand anymore, outside of barely legible grocery lists. But the end of the year brings out a slew of opportunities for penmanship: adding notes to holiday cards to old friends, addressing them, and then doing the same with thank-you notes after Christmas. And given how little I write in the other 11 months of the year, that means there are a lot of errors, which in turn spur a new connection with another old friend: Wite-Out.

The sticky, white fluid and its chief rival, Liquid Paper, are peculiar anachronisms, throwbacks to the era of big hair, big cars, and big office stationery budgets. They were designed to help workers correct errors they made on typewriters without having to retype documents from the start. But typewriters have disappeared from the modern office, relegated to attics and museums. Even paper is disappearing from the modern office, as more and more functions are digitized. But correction fluids are not only surviving—they appear to be thriving, with Wite-Out sales climbing nearly 10 percent in 2017, according to the most recent public numbers. It’s a mystery of the digital age.

Vern Loomis, a retired structural draftsman in West Bloomfield, Michigan, had a standard office lunch: a peanut-butter sandwich, with various fruit, vegetable, and dessert accompaniments. He ate this, he estimates, nearly every workday for about 25 years.

His meal underwent slight modifications over time—jelly was added to the sandwich in the final five or so years—but its foundation remained the same. The meal was easy to prepare, cheap, and tasty. “And if you happen to be eating at your desk … it was something that was not too drippy,” he told me, so long as one applied the jelly a bit conservatively.

Last year, Loomis retired from his job but not his lunch, which he still eats three or four days a week (now with sliced bananas instead of jelly). “I never stopped liking it,” he says. “I still do.”

In 1886, Clark Bell, the editor of the journal of the Medico-Legal Society of New York, relayed to a physician named Pliny Earle a query bound to be of interest to his journal’s readers: Exactly what mental illnesses can be said to exist? In his 50-year career as a psychiatrist, Earle had developed curricula to teach medical students about mental disorders, co-founded the first professional organization of psychiatrists, and opened one of the first private psychiatric practices in the country. He had also run a couple of asylums, where he instituted novel treatment strategies such as providing education to the mentally ill. If any American doctor was in a position to answer Bell’s query, it was Pliny Earle.

Last Tuesday, the Justice Department charged 50 people with involvement in an elaborate scheme to purchase spots in some of the country’s top schools. The tactics described in the indictment were complex and multipronged, requiring multiple steps of deception and bribery by parents and their co-conspirators to secure their children’s admission to the schools of their choice. The plot purportedly included faking learning disabilities, using Photoshopped images to make it seem as if students played sports that they did not actually play, and pretending that students were of different ethnicities in an effort to exploit affirmative-action programs. The alleged scheme was led by a man named William Singer, who called his business venture a “side door” into college. On Tuesday, Singer pleaded guilty to all charges.

Robert Bowers wanted everyone to know why he did it.

“I can’t sit by and watch my people get slaughtered,” he posted on the social-media network Gab shortly before allegedly entering the Tree of Life synagogue in Pittsburgh on October 27 and gunning down 11 worshippers. He “wanted all Jews to die,” he declared while he was being treated for his wounds. Invoking the specter of white Americans facing “genocide,” he singled out HIAS, a Jewish American refugee-support group, and accused it of bringing “invaders in that kill our people.” Then–Attorney General Jeff Sessions, announcing that Bowers would face federal charges, was unequivocal in his condemnation: “These alleged crimes are incomprehensibly evil and utterly repugnant to the values of this nation.”

In the opening sequence of Us, Jordan Peele gives the audience what it might be expecting after months of hype for his follow-up to Get Out: a perfectly taut piece of virtuoso horror filmmaking. A little girl (played by Madison Curry) frolics with her family at a seaside funfair, then wanders off as her dad plays a carnival game, eventually winding up alone in a haunted house. It’s a place for cheap scares, one that tries to jolt you by having things burst out of the wall. But Peele (who wrote, produced, and directed) has more unsettling sights in store, including something so disturbing that the camera takes in only the girl’s reaction, her eyes widening with shock.

It’s a thrilling sequence that feels as if Peele is laying down a marker after the success of his Oscar-winning debut film. Get Out was also a horror movie, but a wry, satirical one, the kind that could be nominated for comedy awards and still scar entire generations of viewers with its notion of “the sunken place.” In its dread-suffused opening moments, Us is utterly serious. But as the plot moves forward, the film becomes more complicated, more outrageous, and in a lot of ways, more daringly funny and topical than its predecessor. Us is a glorious symphony of fear, to be sure, but it’s also an ambitious sci-fi allegory and a pitch-black comedy of the haves and have-nots.

During the two hours I spent talking with Brit Marling and Zal Batmanglij in February, the conversation eddied its way around the following topics. The movies of Krzysztof Kieślowski. The neuroscience of trauma. The painter and novelist Leonora Carrington. Noise shows in San Francisco. Hilma af Klint and the origins of abstract expressionism. Hannah Gadsby’s Nanette. Malcolm Gladwell’s podcast. Cassandra and the gift of second sight. Adam Curtis’s HyperNormalisation. The scourge of irony. Yuval Noah Harari’s Sapiens. The serenity of Le Pain Quotidien. We were sitting at the dining table of what seemed to be an Airbnb apartment in L.A.’s Los Feliz, but it felt at times as if we’d been accidentally transposed into an upcoming novel by Don DeLillo.